{"id":5165,"date":"2012-05-01T01:11:37","date_gmt":"2012-04-30T23:11:37","guid":{"rendered":"http:\/\/padjournal.net\/?p=25"},"modified":"2022-04-13T17:34:09","modified_gmt":"2022-04-13T15:34:09","slug":"design-and-gender-studies","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/design-and-gender-studies\/","title":{"rendered":"Design and Gender Studies"},"content":{"rendered":"


\nSpeaking of women and design, it is important to recall the crucial role carried out by Gender Studies. Therefore, we asked a short interview to Cheryl Buckley, one of the main protagonists of design gender studies.
\nBesides, Cheryl Buckley’s article “Made in Patriarchy: Toward a Feminist Analysis of Women and Design” extracted from Design Issues, Vol. 3, N. 2 (Autumn), The MIT Press, Cambridge1986, pp. 3-14, is here re-published, with the kind permission of MIT Press (http:\/\/www.mitpressjournals.org\/loi\/desi).
\nThere follows a short report on Gender Studies[ref]Cultural Studies are the meeting point of the different contributions coming from numerous disciplines \u2013 social sciences, cultural anthropology, semiotic, aesthetic theories, history of science and communication techniques- that aim at establishing the right of difference: sexual, ethnic, racial, religious, geographic. Cultural Studies re-evaluate and express subcultures and focus on subjects that are considered marginal: sexuality, gender, media, social and cultural movements, interethnic relationships and popular culture.[\/ref], originating from “a multidisciplinary and interdisciplinary approach to the study of socio-cultural meanings of gender identity” in order to dismount the established knowledge on historiographical methods, by unveiling the ideologies that led to the lack of women in history books and in order to define new research paths in design.
\nDesign e Gender Studies<\/strong>
\nBorn in North America between the 70s and the 80s within the Cultural Studies , Gender Studies started spreading in Western Europe during the 80s. They developed from a specific branch of the feminist thought and found basic ideas in post-structuralism and in French deconstructionism (above all Michel Foucault and Jacques Derrida), in the studies on language and psychology (Jacques Lacan and, in a post-lacanian perspective, Julia Kristeva).
\nGender Studies are not a branch of knowledge apart, but a modality of interpretation of the different aspects of human life, the formation of identity and of the relationship between the individual and society and the individual and culture. For this reason they can be applied to any branch of knowledge.
\nIn the 70s and 80s the spreading of Gender Studies was characterized by a political activism purpose linked to the condition of the homosexuals and other ethic and linguistic minorities in relation to discrimination problems, racial and ethnic oppression, the development of post-colonial society and globalization.
\nThanks to Gender Studies nowadays it can be affirmed that the idea of gender does not coincide with the sex (biological, physical and anatomical features), but sex and gender are interdependent dimensions, in the sense that the process of gender identity definition starts from the sex, Gender is not characterized by an innate behaviour or roles but it is a cultural idea that is built psychologically and socially; not even gender identity is innate and immutable, but constantly changing through time and space, because it mirrors social and cultural conventions in a specific place and time. Therefore, the relation between sex and gender varies according the geographical area, historical period and a people’s culture. The ideas of masculinity and femininity are relative, that is to say dynamic and they need to be historicized and contextualized. Any society defines which values are to be assigned to a gender identity.
\nThroughout their development Gender Studies followed the evolution of feminist theories in the western world, that, after a ‘radical’ phase (60s \u2013 70s), went through a ‘cultural’ phase, and subsequently a post-modern and post-structuralist one that unlike the radical phase which denied the difference between men and women, worked towards the construction of a theory and a practice of gender equality, taking into account the social and cultural differences.
\nIn the design branch, Gender Studies, flourished in the British countries, argue that women are almost totally invisible in the history of design, an idea already claimed in some art studies (Rubino, 1979{{2}} ; Parker and Pollock, 1981; Bukley, 1986).
\nTherefore, in the second half of the 80s and 90s, in concurrence with the post-structuralist phase of feminism, a research path began, involving many scholars who wanted to go back along the history of design again with the aim of revealing the presence and the contribution of women.
\nDrawing on the researchers that through a hard work, because of the lack of specific sources and bibliographies, revealed the women’s paths in the arts even with non-conventional methods, many studies identified the women who, working in the factories (from, wall-paper painters to ceramists, from weavers to stylists), within artistic movements and school such as the Bauhaus {{3}}, significantly contributed to the history of design. The historical studies traced back their lives, they also analysed their gender, i.e. the set of behaviours, attitudes, expectations, expressive forms and social relations modes though which the individual and social gender identities are defined in relation to the geographical, social and cultural context.
\nJudy Attfield, Cheryl Buckley and Pat Kirkham’s work was fundamental; they are seen as the main theorists of Design Gender Studies, to them we owe not only a map of the women designers and artisans’ works and biographies, but above all they re-established the importance of these women’s role, and the specificity of female creativity and projectuality in the social contexts of design, thus marking the change from a women designer approach to a feminist approach, as Judy Attfield mantains (1989).
\nThe feminist approach manifested the need to re-discuss the cultural paradigms of modern culture, that disregarded women’s activity in the public sphere of production and design, confining them instead to the private sphere of care and reproduction.
\nCheryl Buckley (1985; 1986) noted that, despite many studies highlighted the women’s work, among the critics a gender prejudice still exists: the classical historiographical methods established hierarchies, gave priority to some types of design (industrial design), designers categories (the pioneers), different artistic movements and production types (industrial), that were meant to neglect women; they ascribed to the men the dominant functional areas, relating to the industrial production, and to the women the \u201cdecorative” area of design: the so-called decorative or applied arts (textile, pottery, etc.) often carried out in a private or domestic context, and therefore not recognized as design activities{{4}}.
\nThe Gender Studies critical approach on classical historiographical methods, that caused the absence or the discrimination of the women in the histories of design despite their presence, involved a radical dispute on the well-established cultural paradigms. That debate showed ‘the ideological reasons of the silence on women’ thus revealing the relation of dependence between patriarchy and capitalism in the Western world, and the skill of both of them in modelling and re-defining society in order to avoid potential processes of transformation (Buckley, 1986).
\nThis change of perspective opened new perspectives for the analysis and the historical reading of material culture, aimed at overcoming conventions and stereotypes. Research provided the possibility to identify new historiographical methods and parameters (for assessing design objects, and defining design and a designer’s activity) in order to let the dimensions hidden or omitted by previous studies, come to the surface. Especially, Cheryl Buckley underlined the need to re-define and widen the borders of design, redrawing the relationships and the distinctions between the arts, craftsman and design, in order to write a more inclusive history of design than that produced by modern culture.
\nAlso in the British cultural context of the 80s, some researchers investigating, from a feminine perspective, the role of design in the gender relationships, emerged. These include enquiries on adverts, art, visual design such as those of Ellen Lupton, and on large consumption products, of which they analyse the communicative signs and images.
\nThe interest for this kind of studies went beyond the British world.
\nResearches highlighted the subordination of women in the consumerist society: that of consumers of products designed by men.
\nIt was also analysed how the design affects the construction of a gender identity, and if subjected to stereotypes, it leads to gender discrimination.
\nThe relationship between gender and everyday objects was analysed under different aspects: from their shape to the materials, from the colours to the finishing, all elements conveying messages on life-styles, the desires of the consumerists and by which the gender identity is defined (Martha Zarza, 2001).
\nIn Italy there is an interesting study by Raimonda Riccini whi investigated the relationship between the promotion of domestic technologies and the female identity. After clothing, the domestic technologies and techniques are the first instruments by which the female body is structured. Riccini’s study aims at highlighting now, despite the positive aspect of introducing technology into housework, hidden behind the utopian perspectives of a higher comfort, new forms of subservience to work are hidden, more and more insidious. Technologies offered new lifestyles where, every time, the housework seems to de-materialize Instead, a drastic reassessment of the female body and its technique in housework is foreshadowed : \u201c\u2026the intelligent house is once again a male technical construction, in which the technological functions are decided by engineers and producers” (Riccini, 1997, p.164).
\nMarinella Ferrara, Politecnico di Milano, INDACO\u00a0department.<\/em>
\nBibliography<\/strong>
\nAttfield, J. (1989). Form\/female follows function\/male: Feminist Critiques of Design. In J. A. Walker (ed.), Design History and the History of Design<\/em>, London, UK: Pluto Press, pp. 199-225.
\nBuckley, C. (1986, autunno). Made in Patriarchy: Toward a Feminist Analysis of Women and Design. Design Issues<\/em>, Vol. 3, n. 2 pp. 3-14.
\nPietroni, L. (2002, settembre). Donne e Design: il contributo dei Gender Studies. Op. cit.<\/em>, n. 115 pp. 15-35.
\nPollock, G. with Parker R. (1981). Old Mistresses. Women, Art and Ideology<\/em>, London UK: Routledge & Kegan.
\nRiccini, R. (1997). Identit\u00e0 femminili e tecnologie del quotidiano.<\/em> In L. Fortunati, J. Katz, R. Riccini (a cura di), Corpo Futuro<\/em> (pp. 155-166). Milano IT: Franco Angeli.
\nRubino, L. (1979). Le spose del vento. La donna nelle arti e nel design degli ultimi cento anni<\/em>, Verona, IT: Bertani Editore.
\nTrasforini, M. A. (2000, a cura di). Arte a parte: donne artiste fra margini e centro<\/em>. Milano, IT: Franco Angeli.
\nWeltge, S. W. (1993). Bauhaus Textiles<\/em>. London, UK: Thames & Hudson.
\nZarza, M. P. (2001). Hair Removal Products: gendered objects under control of conventional conceptions\u00a0of femininity and masculinity. Proceedings of the ICSID 2001. Seoul, Korea.
\n[[2]]Old Mistresses: Donne, Arte e ideologia, gli inglesi studiosi esaminato il ruolo delle donne all’interno della storia dell’arte.[[2]]
\n[[3]]In the 90s, Sigrid Wortmann Weltge addressed to the women’s work at the Bauhaus a study carried out from a female perspective. The study was published with the title Bauhaus Textiles – Women Artists and the Weaving Workshop.<\/em>[[3]]
\n[[4]]In fact, according to Judy Attfield, the history of design suffers from the theories of Modern Movement, that considers the shape-woman as originating from the function-man. Design is believed to be the product of professional designers, originating from industrial production through methods of work sharing. Handicraft given to women and made at home is not considered as adesign activity.[[4]]
\nParlando di donne e design \u00e8 necessario ricordare l\u2019importante ruolo svolto dai Gender Studies<\/em>.
\nAbbiamo cos\u00ec chiesto una breve intervista a Cheryl Buckley, una delle maggiori protagoniste del discorso di genere nell\u2019ambito del design.
\nInoltre di Cheryl Buckley riproponiamo l\u2019articolo “Made in Patriarchy: Toward a Feminist Analysis of Women and Design” estratto da Design Issues, Vol. 3, N. 2 (Autumn), The MIT Press, Cambridge1986, pp. 3-14, su gentile concessione della casa editrice MIT Press (http:\/\/www.mitpressjournals.org\/loi\/desi).
\nPubblichiamo poi una breve scheda sui Gender Studies<\/em>, che traggono origine da \u201cun approccio multidisciplinare e interdisciplinare allo studio dei significati socio-culturali dell’identit\u00e0 di genere” {{1}} per scardinare le certezze consolidate sui metodi storiografici, smascherando le ideologie che stanno dietro alla ridotta presenza delle donne nei libri di storia e per definire nuovi percorsi della ricerca nell\u2019ambito della disciplina del design.
\nDesign e Gender Studies<\/strong>
\n<\/strong>Nati in Nord America tra gli anni Settanta e Ottanta nell’ambito dei Cultural Studies {{2}}, i Gender Studies<\/em> si\u00a0diffondono nell\u2019Europa Occidentale negli anni Ottanta. Si sviluppano a partire da un certo filone del pensiero femminista e trovano spunti fondanti nel post-strutturalismo e nel decostruzionismo francese (soprattutto Michel Foucault e Jacques Derrida), negli studi che uniscono psicologia e linguaggio (Jacques Lacan e, in una prospettiva postlacaniana, Julia Kristeva).
\nI Gender Studies<\/em> non costituiscono un campo di sapere a s\u00e9 stante, ma una modalit\u00e0 di interpretazione dei diversi aspetti della vita umana, della formazione delle identit\u00e0 e del rapporto tra individuo e societ\u00e0 e tra individuo e cultura. Per quanto detto sono applicabili a qualunque branca della conoscenza.
\nNegli anni Settanta e Ottanta la diffusione dei Gender Studies<\/em> \u00e8 stata caratterizzata da un intento di attivismo politico connesso alla condizione femminile e teso all\u2019emancipazione sociale, ma anche connesso a quella degli omosessuali e ad altre minoranze etniche e linguistiche in relazione a problematiche di discriminazione, di oppressione razziale ed etnica, allo sviluppo delle societ\u00e0 postcoloniali e della globalizzazione.
\nGrazie ai Gender Studies<\/em> oggi si pu\u00f2 affermare che il concetto di genere non coincide con il concetto di sesso (corredo genetico di caratteri biologici, fisici e anatomici), ma sesso e genere sono dimensioni interdipendenti, nel senso che a partire dall\u2019appartenenza a un sesso si innesca il processo di definizione dell\u2019identit\u00e0 di genere. ll Gender<\/em> non \u00e8 caratterizzato da comportamenti e ruoli innati ma \u00e8 un concetto culturale che si costruisce psicologicamente e socialmente; nemmeno l\u2019identit\u00e0 di genere \u00e8 innata e immutabile, ma in continua modificazione nello spazio e nel tempo, poich\u00e9 \u00e8 il riflesso delle convenzioni sociali e della cultura di uno specifico luogo in un determinato tempo. Quindi il rapporto tra sesso e genere varia secondo le aree geografiche, dei periodi storici, delle culture di appartenenza. I concetti di maschilit\u00e0 e femminilit\u00e0 sono relativi, cio\u00e8 concetti dinamici che devono essere storicizzati e contestualizzati. Ogni societ\u00e0 definisce quali valori attribuire alle identit\u00e0 di genere.
\nNel loro sviluppo i Gender Studies<\/em> hanno seguito l\u2019evoluzione delle teorie femministe del mondo occidentale che, dopo una prima fase \u201cradicale” negli anni 60-70, sono state caratterizzate dalla fase \u201cculturale”, e poi da quella post-moderna e post-strutturalista che, a differenza della fase radicale, che negava la differenza tra uomini e donne, ha operato per la costruzione di una teoria e una prassi dell\u2019uguaglianza dei generi che tenga conto delle differenze sociali e culturali di appartenenza.
\nNel campo del design, i Gender Studies<\/em>, fioriti nei paesi anglosassoni, argomentano il concetto gi\u00e0 palesato da alcuni studi nel campo dell\u2019arte, della quasi totale “invisibilit\u00e0” delle donne nella storia del design (Rubino, 1979{{3}} ; Parker e Pollock, 1981; Bukley, 1986).
\nCos\u00ec, nella seconda met\u00e0 degli anni \u201980 e negli anni \u201990, in coincidenza con la fase post-strutturalista del femminismo, inizia un percorso di ricerca che coinvolge molti ricercatori nel ripercorrere la storia del design con l\u2019intento di svelare la presenza e l\u2019apporto delle donne.
\nSull\u2019esempio delle ricerche che faticosamente, per la mancanza di fonti specialistiche e di bibliografie, hanno svelato anche con metodi non convenzionali il percorso delle donne nell\u2019arte, molti studi hanno identificato le donne che, con il lavoro di fabbrica (dalle pittrici di parati alle ceramiste, dalle tessitrici alle stiliste), all\u2019interno di movimenti artistici e di scuole come il Bauhaus{{4}}, hanno contribuito significativamente alla storia del design. Gli studi storici ne hanno ricostruito i percorsi di vita, e ne hanno analizzato anche il gender<\/em> cio\u00e8 l’insieme dei comportamenti, attitudini, aspettative, forme espressive e modi di relazione sociale attraverso i quali si definiscono le identit\u00e0 individuali e sociali di genere in rapporto al contesto geografico, sociale e culturale.
\nFondamentale \u00e8 stato il lavoro svolto da Judy Attfield, Cheryl Buckley e Pat Kirkham, riconosciute come le maggiori teoriche del design in relazione ai Gender Studies<\/em>, alle quali si deve non solo una mappatura di opere e biografie di donne designer e artigiane, ma soprattutto la rivendicazione del ruolo della donna e della specificit\u00e0 della creativit\u00e0 e progettualit\u00e0 femminile nei contesti socioculturali in cui si \u00e8 espresso il design, segnando il passaggio da un women designer approach a un feminist approach, come sostiene Judy Attfield (1989).
\nL\u2019approccio femminista ha esplicitato la necessit\u00e0 di mettere in discussione i paradigmi culturali della cultura moderna che ha escluso l\u2019attivit\u00e0 delle donne dalla sfera pubblica della produzione e del design, per relegarle nella sfera privata della cura e della riproduzione.
\nCheryl Buckley (1985; 1986) ha segnalato che, nonostante molti studi abbiano avuto il ruolo di evidenziare il lavoro delle donne, permane nella critica un pregiudizio di genere: i metodi storiografici classici hanno stabilito delle gerarchie, dato priorit\u00e0 a certe tipologie di design (industrial design), categorie di designer (i pionieri), diversi movimenti artistici e differenti modalit\u00e0 di produzione (industriale), che sono serviti a escluder le donne dalla storia; hanno assegnato all’uomo l’area \u201cdominante”o funzionale, relativa alla produzione industriale, e alle donne l\u2019area \u201cdecorativa” del design: le cosiddette arti decorative o applicate (tessile, ceramica, ecc.) spesso condotte nell\u2019ambito privato e domestico, quindi non riconosciute come attivit\u00e0 di design.
\nL\u2019approccio critico dei Gender Studies sui metodi della storiografia classica, che hanno determinato l\u2019assenza delle donne dalle storie o la loro discriminazione nonostante la presenza, ha implicato una radicale messa in discussione dei paradigmi culturali consolidati. Il dibattito innescato ha rivelato \u201cle ragioni ideologiche del silenzio sulle donne” smascherando la relazione di dipendenza che intercorre tra patriarcato e capitalismo nel mondo occidentale, con l’abilit\u00e0 di entrambi di modellare e riformulare la societ\u00e0 per prevenire potenziali processi di trasformazione (Buckley, 1986).
\nQuesto cambiamento di prospettiva ha dischiuso all\u2019analisi e alla lettura storica della cultura materiale una molteplicit\u00e0 di nuove prospettive di analisi finalizzate a superare le convenzioni e gli stereotipi. La ricerca ha messo in campo la possibilit\u00e0 di individuare nuovi metodi e parametri storiografici (per valutare gli oggetti di design, definire il design e l\u2019attivit\u00e0 dei designer) in modo da far emergere le dimensioni del design celate, omesse e addirittura nascoste dagli studi precedenti. In particolare Cheryl Buckley ha affermato la necessit\u00e0 di ridefinire ed estendere i confini del design, ridisegnando il rapporto e le distinzioni tra arti, artigianato e design, per contribuire allo sviluppo di una storia del design pi\u00f9\u201cinclusiva” rispetto a quella prodotta dalla cultura moderna.
\nSempre nel contesto culturale anglosassone negli anni Novanta sono emerse ricerche che hanno indagato, secondo la prospettiva femminista, il ruolo del design nei rapporti tra gender. Questi comprendono attente indagini nel campo della pubblicit\u00e0, dell\u2019arte, del visual design come quelle di Ellen Lupton, e dei prodotti di largo consumo, di cui vengono analizzati i segni, le immagini e gli artefatti comunicativi.
\nL\u2019interesse per questi studi si \u00e8 spinto anche oltre i confini del mondo anglosassone.
\nLe ricerche hanno messo in evidenza il ruolo subordinato della donna nella societ\u00e0 dei consumi: quello di consumatrici dei prodotti disegnati dagli uomini.
\n\u00c8 stato anche analizzato come il design influisca nella costruzione dell\u2019identit\u00e0 di genere e, se assoggettato agli stereotipi, alla discriminazione di genere.
\nLa relazione tra gender e oggetti d\u2019uso quotidiano \u00e8 stata analizzata in vari aspetti: dalla loro forma, ai materiali, dal colore alla finitura, tutti elementi che veicolano messaggi sugli stili di vita, sulle aspirazioni dei consumatori e attraverso i quali si definisce l\u2019identit\u00e0 di genere (Martha Zarza, 2001).
\nIn Italia \u00e8 interessante lo studio condotto da Raimonda Riccini che ha indagato la relazione esistente fra la promozione delle tecnologie domestiche e l\u2019identit\u00e0 femminile. Dopo l\u2019abbigliamento, le tecnologie e le tecniche domestiche sono stati gli strumenti primi di strutturazione del corpo femminile. Lo studio della Riccini verte in articolare a evidenziare come, nonostante gli aspetti positivi dell\u2019introduzione delle tecnologie nell\u2019ambito domestico, mascherate dietro le prospettive utopiche di maggiore confort, si nascondono nuove forme di asservimento al lavoro, sempre pi\u00f9 insidiose. Le tecnologie hanno proposto nuovi stile di vita in cui, ogni volta, sembrerebbe che il lavoro domestico si smaterializzi. Invece viene prefigurato un drastico ridimensionamento del ruolo del corpo umano femminile e delle sue tecniche nelle attivit\u00e0 domestiche: \u201c\u2026 la casa intelligente \u00e8 ancora una volta una costruzione tecnica maschile, nella quale le funzioni della tecnologia sono determinate dai progettisti e dai produttori” (Riccini, 1997, p.164).
\nMarinella Ferrara, Politecnico di Milano, Dipartimento INDACO.<\/em>
\nBibliografia<\/strong>
\nAttfield, J. (1989). Form\/female follows function\/male: Feminist Critiques of Design. In J. A. Walker (ed.),\u00a0Design History and the History of Design<\/em>, London, UK: Pluto Press, pp. 199-225.
\nBuckley, C. (1986, autunno). Made in Patriarchy: Toward a Feminist Analysis of Women and Design.\u00a0Design Issues<\/em>, Vol. 3, n. 2 pp. 3-14.
\nPietroni, L. (2002, settembre). Donne e Design: il contributo dei Gender Studies.\u00a0Op. cit.<\/em>, n. 115 pp. 15-35.
\nPollock, G. with Parker R. (1981).\u00a0Old Mistresses. Women, Art and Ideology<\/em>, London UK: Routledge & Kegan.
\nRiccini, R. (1997). Identit\u00e0 femminili e tecnologie del quotidiano. In L. Fortunati, J. Katz, R. Riccini (a cura di),\u00a0Corpo Futuro<\/em>\u00a0(pp. 155-166). Milano IT: Franco Angeli.
\nRubino, L. (1979).\u00a0Le spose del vento. La donna nelle arti e nel design degli ultimi cento anni<\/em>, Verona, IT: Bertani Editore.
\nTrasforini, M. A. (2000, a cura di).\u00a0Arte a parte: donne artiste fra margini e centro<\/em>. Milano, IT: Franco Angeli.
\nWeltge, S. W. (1993). Bauhaus Textiles.<\/em> London, UK: Thames & Hudson.
\nZarza, M. P. (2001). Hair Removal Products: gendered objects under control of conventional conceptions\u00a0of femininity and masculinity. Proceedings of the ICSID 2001. Seoul, Korea.
\n[[1]]I Cultural Studies<\/em> sono il punto di convergenza degli apporti provenienti da numerose discipline – le scienze sociali, l’antropologia culturale, la semiotica, le teorie estetiche, la storia della scienza e le tecniche della comunicazione – che hanno come principale obiettivo quello di stabilire il diritto alla differenza: sessuale, etnico-razziale, religiosa, geografica. I Cultural Studies rivalutano e dando voce alle subculture, alle controculture, e si focalizzano su temi che erano considerati marginali: la sessualit\u00e0, il genere, i mass media, i movimenti sociali e culturali, i rapporti interetnici, la cultura popolare.[[1]]
\n[[2]]Old Mistresses: Donne, Arte e ideologia, gli inglesi studiosi esaminato il ruolo delle donne all’interno della storia dell’arte.[[2]]
\n[[3]]Negli anni \u201990, Sigrid Wortmann Weltge ha dedicato al lavoro delle donne al Bauhaus uno studio svolto da una prospettiva femminista. Lo studio \u00e8 stato pubblicato con il titolo I tessuti del Bauhaus. L’arte e l’artigianato di un laboratorio femminile.[[3]]
\n[[4]]Infatti, secondo Judy Attfield, la storia del design soffre della provenienza dalle teorie del Movimento Moderno, che considera la forma-femmina derivante dalla funzione-maschio. Il design \u00e8 considerato il prodotto di designer professionisti e derivante della produzione industriale con metodi di divisione del lavoro. Il lavoro artigianale assegnato alle donne e svolto in casa non viene riconosciuto come attivit\u00e0 di design.[[4]]<\/p>\n","protected":false},"excerpt":{"rendered":"

Speaking of women and design, it is important to recall the crucial role carried out by Gender Studies. Therefore, we asked a short interview to Cheryl Buckley, one of the main protagonists of design gender studies. Besides, Cheryl Buckley’s article “Made in Patriarchy: Toward a Feminist Analysis of Women and Design” extracted from Design Issues,… Continua a leggere Design and Gender 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